Author:
Weng,Yu-Ching 翁于晴

Graduated Academic Year:
2020

Advisor:
Chiou, Chang-Tay, Shen, Zhen  丘昌泰、沈禎

 

Abstract:

Art festivals are flourishing all over the world and have become a prominent part of curation, and the development of the Taiwanese Arts Festival brings together domestic and foreign performing arts practitioners. This helps promote the performing arts industry, consolidate cultural spirit, create and expand regional value, and bring about a new cultural movement as curators play important and key roles in art festivals. This study explores a curator’s dilemma in the choice between artistic and commercial value, and develops a relationship between the internal and external value chains of art festivals using the theoretical framework of the OPMAR curatorial model.

The study uses the Dadaocheng International Art Festival as a case study, and uses the OPMAR curatorial theory to carry out in-depth analysis on the execution mode of the planning and integration internal/external value chains. In-depth interviews were conducted with participants and curatorial experts relevant to the study, and participatory observations were carried out in 2018 and 2019 based on the experiences of participating in the Edinburgh Festival Fringe in 2018 and the Avignon Art Festival in 2019.

The study found that art festivals initiated by the people were carried out in the form of “rolling curation.” Most arts festivals rely on fundraising and government subsidies as the main source of curatorial income: they cannot be carried out using a self-sufficient mode and they are difficult to carry in the long run. In addition, the lack of resources in the external value chain of the individual cases has become a curatorial hinderance, and has now developed into a bottleneck for the development of these festivals. However, curators treat all participants as subjects jointly running the art festivals and even though the festivals have become creative gathering platforms, the scope art being engaged is still too small due to a lack of internal curatorial talent, overly-frequent flow of talent, lack of resources resulting in stagnated development. Therefore, the study uses the OPMAR curatorial theory to further recommend solutions and policy recommendations in hopes of improving the current issues in development of current art festival curation, which then promotes the sustainable development of art-related activities in Taiwan.

　　藝術節慶在世界各地百花齊放，成為策展領域的顯學。台灣藝術節發展匯聚國內外表演藝術工作者，有助於推動表演藝術產業、凝聚文化精神、營造地區價值並加以延伸，進而創造新文化運動。策展人是藝術節重要關鍵角色，研究探討策展人在藝術與商業價值抉擇之困局，透過策展模式OPMAR理論框架，以發展藝術節內外價值鏈相互關係。

　　研究以大稻埕國際藝術節為研究案例，透過本文提出OPMAR策展理論，深入分析案例中內、外在價值鏈策畫與整合之執行模式；並針對參與者以及研究相關議題之策展專家進行深度訪談。藉由參與2018年愛丁堡藝穗節、2019年亞維儂藝術節的經驗，對本研究2018年與2019年進行參與觀察。

　　研究發現，由民間發起之藝術節，是以「滾動式策展」做為執行方式。藝術節大都以募款與政府補助作為策展主要收入，無法自給自足的經營模式，實難長期經營；另，個案外在價值鏈資源不足，成為策展阻力，目前已達到發展瓶頸階段。然而，策展人將所有參與者視作為共同經營藝術節對象，發展至今雖然成為創意匯聚平台，觸及藝術領域的廣度仍過於狹隘，其原因在於策展內部人才困乏、流動頻繁、資源不足為發展困局的關鍵。據此，研究以OPMAR策展理論進一步提出藝術節未來出路與政策建議，期望改善現今藝術節策展發展困境，進而帶動台灣藝術相關活動永續發展。